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Vortex Indicator
Developed by Etienne Botes and Douglas Siepman, the Vortex Indicator consists of two oscillators that capture positive and negative trend movement. In creating this indicator, Botes and Seipman drew on the work of Welles Wilder and Viktor Schauberger, who is considered the father of implosion technology. Despite a rather involved formula, the indicator is quite easy to interpret. A bullish signal triggers when the positive trend indicator crosses above the negative trend indicator or a key level. A bearish signal triggers when the negative trend indicator crosses above the positive trend indicator or a key level. The Vortex Indicator is either above or below these levels, which means it always has a clear bullish or bearish bias.
Interpretation
The Vortex Indicator (VTX) can be used to identify the start of a trend and subsequently affirm trend direction. First, a simple cross of the two oscillators can be used to signal the start of a trend. After this crossover, the trend is up when +VI is above -VI and down when -VI is greater than +VI. Second, a cross above or below a particular level can signal the start of a trend and these levels can be used to affirm trend direction.
Conclusion
The Vortex Indicator is a unique directional indicator that provides clear signals and defines the overall trend. As with all technical analysis tools and indicators, the Vortex Indicator can be used on a range of securities and across various timeframes. For example, VTX can be applied to weekly and monthly charts to define the bigger trend and then applied to daily charts to generate signals within that trend. Using the daily chart, chartists could focus exclusively on bullish signals when VTX on the weekly chart indicates an uptrend. Conversely, chartists can focus on bearish signals when VTX on the daily chart is in bear mode.
gold trading signals contain on entry point, take profit level and stop loss . Past gold signals performance is not an indicator of future gold trading signals results. www.gold-pattern.com/en
• Name of Photo Set: Timeless
• Photo caption: Developing
• Date taken: 14/11/2011
• Location of photo: National Folk Museum, Seoul; South Korea
• Description of content: A model of a town during the developing stages of the industrialisation period. Traditional roofs were still built but the interior of the shops were more modern.
• Name of photographer: Natalie Khoo
Mamiyaflex C2
Fujicolor Pro400H
Developed with the C-41Kit from Argentix.ca
Digitized with an Olympus OM-D EM-5 and 60mm macro
all the supplies you need to get started doing your own self-developing (oh, plus a digital timer- forgot that!)
Yachats, Oregon. The light gray rock is old mudstone, the reddish-black rock is overlying basalt lava. The little knob of light gray rock in the red-black lava? Probably stirred up and mixed into the lava as it flowed over. This is called "breccia." The cave is probably developing along a seam of loosely congealed breccia. Cool? Cool.
Hamish Friedlander talks about Developing Rich HTML applications with Silverstripe, Entwine and Backbone at WDCNZ 2012
Photo by WE DO Photography and Design wedo.net.nz
This is one of my first self-developed photos. I burned a roll this morning so I'd have something to play with. Not bad for a first attempt.
Arista Premium 400, Arista chemistry.
My first self-processed roll - we'll all see tomorrow how good it turned out, I promise. I can't wait to start scanning, but I must - going out for the evening.
Built between 1937 and 1959, the Organic Modern-style Taliesin West was designed by Frank Lloyd Wright and constructed by his apprentices to serve as the winter home of Wright and his Taliesin Fellowship. The complex, which consists of many buildings, began as a set of temporary, tent-like structures in the late 1930s, before evolving into more permanent buildings over the course of the 1940s, reflecting the ever-experimenting nature of the Taliesin Fellowship and Frank Lloyd Wright, something also seen at the original Taliesin in Wisconsin. Wright developed an architecture at Taliesin West that reflected the surrounding desert environment, with long, low stone buildings featuring long and narrow expanses of glass, shed roofs, stone walls, and timber framing, with rooflines that reflected the surrounding mountains, small areas of non-desert plantings, and buildings that were, alternatively, reminiscent of tent pavilions and stone caves. The complex is clustered around the main building, with much of the site remaining an undisturbed natural desert landscape, an increasingly rare feature of the greater Phoenix Area, which was already beginning to disappear during Wright’s lifetime. The site is home to rocks with petroglyphs created by the indigenous Hohokam people, along with remnants of their habitation of the site prior to their migration out of the region during a period of climate change, which was accompanied by severe flooding that damaged their irrigation canal infrastructure, in the 14th and 15th Centuries. The buildings surround various courts, gardens, and natural areas, and many incorporate Chinese sculptures near their entrances, collected by Frank Lloyd Wright due to his lifelong fascination with East Asian art.
The buildings consist of a main building, with a stone vault at its northwest corner. Built in 1937 as the first structure at Taliesin West, the cave-like stone vault meant to protect drawings created by Wright and the Taliesin Fellowship in the event of a fire, influenced by the fires that had previously destroyed Taliesin in Wisconsin. From this initial structure extends, to the southeast, a drafting studio with a canvas roof, large roof beams, ribbon windows, stone walls, and a wooden pergola on its northern flank, which contained the main drafting studio of the Taliesin Fellowship, and has a large entrance terrace on its south facade, with steps leading down to the pool and the prow at the southwest corner of the complex. To the east of the drafting studio is the kitchen, which features an exterior bell tower that would signal members of the Taliesin Fellowship to come to the dining room for meals, and dining room, which served as a large communal space for the Taliesin Fellowship and Wright. These public and communal spaces sit west of a breezeway that connects the northern patio with the sunset terrace on the south side of the complex. On the southwest side of sunset terrace is the Garden Room, a large living room utilized by both the Taliesin Fellowship members, as well as Wright’s family, as a gathering space, which encloses a small walled garden and, along with the breezeway, marks the transition between the more communal, public spaces at the western end of the main building with the more private rooms to the east. The eastern portion of the main building contains bedrooms and bathrooms for the Wright family, and a weaving studio utilized by Olgivanna to create textiles, with a ventilation tower, the tallest section of the complex, being located on the north side of this wing.
To the east of the main building are various cottages and residences for the Taliesin Fellowship, as well as Sun Cottage, the former residence of Iovanna Wright, the daughter of Olgivanna and Frank Lloyd Wright, which are simpler versions of the main building, and remain private living quarters today, not open to visitors taking tours of the complex. At the southeast corner of these structures is the cave-like Kiva, originally constructed to serve as a theater for the Taliesin Fellowship, which features stone walls and a rooftop terrace, and is connected to the main building via a covered walkway. At the northern end of the original complex is Frank Lloyd Wright’s office, which is extremely similar to the drafting studio, but at a smaller scale, and features the same ribbon windows, canvas roof with large beams, and stone walls seen on the drafting studio. To the north of the office is the Cabaret Theatre, built in 1950, which replaced the Kiva as a performance space and meeting space for the Taliesin Fellowship, and consists of a long, low cave-like structure built of stone and concrete that is embedded into the surrounding landscape. On the east side of the theater is the music pavilion, originally built in 1957, which was destroyed by fire and rebuilt in 1963 according to the original plans, and rivals the main building in size. West of these structures is the Visitor’s Center and Maintenance Building, which was built in the early 2000s to allow for additional visitor capacity at Taliesin West. Following the design of the rest of the complex, the visitor center harmonizes with the rest of Taliesin West, feeling like a natural extension of the buildings constructed with oversight by Wright.
Taliesin West was listed on the National Register of Historic Places in 1974, and was designated a National Historic Landmark in 1982. The structure is also part of The 20th-Century Architecture of Frank Lloyd Wright UNESCO World Heritage Site, listed in 2019. Taliesin West is the final resting place of the remains of Frank Lloyd Wright and Olgivanna Wright, which, controversially, led to the exhumation of Frank Lloyd Wright from Unity Chapel Cemetery in Spring Green, Wisconsin following Olgivanna’s death in 1985. The complex remained in use by the Taliesin Fellowship until it became The School of Architecture in 1986, which remained in operation seasonally at both Taliesin and Taliesin West until moving its operations to another location in Scottsdale in 2020. Taliesin West today is owned and operated by the Frank Lloyd Wright Foundation, which continues conservation work on the buildings, including reconstruction of various wings that were built quickly with low-quality materials, ensuring that the buildings continue to stand and remain open to visitors in perpetuity.
Founded in the 1830s and developed during the mid-19th Century as a major port for riverboats, Cairo was once considered to be one of the most important sites for urban settlement in the United States, due to its location at the confluence of the Mississippi River and Ohio River, which are the two main branches, by volume, of the longest navigable inland waterway system on the North American continent. The city grew rapidly during the early decades, but due to the city’s late start in development due to its flood-prone location and issues with land companies, the increase in importance of railroads, and various other economic factors, the city never reached the lofty ambitions that its founders and early residents envisioned. Nevertheless, by the time of the US Civil War, the city was a major river port, and became home to Fort Defiance, a United States Army fortification, which was located south of the city proper at the present site of Fort Defiance State Park. After the Civil War, the city continued to grow, eventually becoming a regional center with a population of over 15,000 by the 1920s, boasting a significant business district along Washington Avenue, Commercial Avenue, and the side streets between them, with theaters, hotels, restaurants, shops, department stores, and other amenities that drew in residents of surrounding towns and rural areas.
However, after World War II, racial tensions began to mount in the city, which had a high degree of racial segregation, and in the 1960s, these tensions exploded into violence between the city’s White population, which owned most of the businesses and property in town, in addition to holding disproportionate political power in Cairo and Alexander County, and the long-neglected Black community, whom lived in substandard housing and were not allowed to patronize many of the town’s White-owned businesses. Riots broke out in 1967 in response to the mysterious death of Robert Hunt, a Black man, while in police custody, and again in in the summer of 1969, when the White Hats, deputized White private citizens, clashed violently with the Cairo United Front, whom represented the city’s Black community, demanding equal treatment and equal rights. In 1970, activists picketed outside White-owned businesses, which were boycotted by the city’s Black population, leading to the demise of much of the town’s remaining commercial enterprises, with White business owners often electing to close up shop and move elsewhere. In the wake of the unrest, and due in part to other economic and social factors, most of the town’s businesses closed, with economic activity shifting to other towns and cities in the region, leaving the downtown area a fading relic of a bygone era.
Today, the town has shrunk to 1,500 people, with vacant grassy lots and rubble from long-demolished buildings lining many of the streets, including the formerly bustling Commercial Avenue and Washington Avenue. Cairo is a ghost town on the river, and despite its important location, has been forgotten. Fort Defiance State Park reflects this in its present condition, with dilapidated facilities, and an overall lack of visitor amenities, which is, in part, due to the state of Illinois giving control of the park to the struggling city of Cairo in the 1990s, which lacked the resources to properly steward it. The state regained control of the park in 2014, but it seemingly has been overlooked, and very little has been done to significantly improve the visitor experience. The Mississippi River and Ohio River, which are two of the most significant features of the United States and have massively shaped the country’s history, demographics, and economy, gave rise to many communities along their banks, many of which had aspirations of greatness. However, many, like Cairo, have since faded into obscurity. Today, Cairo’s only claim to fame, besides its sheer level of abandonment and urban decay, is that it sits at the junction of the two largest branches, by water volume, of the Mississippi River system, waters that fed the growth of America’s civilization, industry, and population.